Preface | p. ix |
Acknowledgements | p. xxxi |
Modernism and the Absolute Film | |
The Overcoming of Representation | p. 1 |
The Philosophical and Occult Background to the Absolute Film | p. 3 |
Photography, Modernity, and the Crisis of Vision | p. 3 |
The Analogy to Music | p. 5 |
Absolute Film and Visibility: The Theories of Conrad Fiedler | p. 8 |
Bergson and Intuition | p. 14 |
Abstraction and the Occult | p. 15 |
The Extraordinary Influence of Annie Besant and Charles Leadbeater's Thought Forms | p. 23 |
Vibratory Modernism: Rudolf Steiner, Anthroposophy, and Synaesthesia | p. 31 |
Modernism and the Absolute Film | p. 39 |
The Absolute Film: Precursors and Parallels | p. 39 |
Precursors of the Absolute Cinema: Light Sculpture | p. 39 |
Precursors of the Absolute Film: The Scroll | p. 40 |
Precursors of the Absolute Cinema: The Colour Organ and the Lichtspiel | p. 44 |
More on Vibratory Modernism: The Esoteric Background to the Absolute Film | p. 81 |
Abstract Film and Its Earlier Occult Predecessors | p. 86 |
A Possible Egyptian Connection for Kircher's Steganographic Mirror | p. 94 |
Huygens, Robertson, and Their Colleagues: Popular Magic | p. 101 |
Spiritualism and the New Technology | p. 106 |
Léopold Survage and the Origins of the Absolute Film | p. 111 |
Walther Ruttmann and the Origins of the Absolute Film | p. 116 |
Hans Richter and Viking Eggeling: The Absolute Film as the Fulfillment of Modern Art Movements | p. 125 |
The Language of Art: Constructivism, Reason, and Magic | p. 129 |
Eggeling's Integrity | p. 135 |
Toward a Generalbaß der Malerei | p. 137 |
Goethe as Precursor | p. 149 |
Kandinsky, Eggeling, and Richter: Colour as Feeling, Rhythm as Form | p. 160 |
Rhythmus 21 and the Generalbaß der Malerei | p. 162 |
The End of the Absolute Film | p. 163 |
Modernism and Revolution | |
Constructivism between Marxism and Theology | p. 203 |
Spiritual Interests in Late Nineteenth-Century and Early Twentieth-Century Russia | p. 205 |
Symbolism, Theology, and Occultism | p. 205 |
Solovyov's Influence | p. 216 |
Symbolism and Its Legacies | p. 225 |
Symbolism, the Spiritual Ideal, and the Avant-garde | p. 225 |
Symbolism: The Crucible of the Russian Avant-grade | p. 227 |
Malevich, or the Persistence of the Symbolist Ideal | p. 235 |
Symbolism and Its Descendants: Suprematism | p. 239 |
Zaum and Perlocutionary Poetics | p. 240 |
Malevich and Higher Reality | p. 248 |
Malevich, Suprematism, and Schopenhauer | p. 249 |
Symbolism and Its Descendants: Cubo-Futurism | p. 251 |
Vitebsk and Symbolism | p. 252 |
Symbolism and Its Descendants: FEKS | p. 254 |
Constructivism: Between Productivism and Suprematism | p. 265 |
Symbolism and Its Descendants: Constructivism | p. 265 |
Eisenstein, Constructivism, and the Dialectic | p. 279 |
The Fact: Nature and Its Transformation | p. 280 |
The Theory of the Dialectic and the Concept of Transformation | p. 289 |
The Concept of Transformation in Earlier and Later Eisenstein | p. 291 |
Eisenstein, Bely, Russia, and the Magic of Language | p. 301 |
Rudolf Steiner's Anthroposophy and the Avant-garde | p. 304 |
Rosicrucianism and the Theory of Transformation | p. 305 |
What Would Eisenstein Have Heard in a Rosicrucian Lodge? | p. 308 |
Rosicrucianism and Eisenstein's Aesthetic Theory | p. 312 |
Constructivism and Counterscience | p. 317 |
The Engineer of Human Souls | p. 331 |
Fechner and the Science of Effects | p. 333 |
The Cinema and Spiritual Technology | p. 338 |
The Cinema and X-rays | p. 340 |
Nikolai Fedorov's Cosmism | p. 346 |
The New Body | p. 350 |
Mexico and Mallarmé | p. 357 |
Eisenstein, the Monistic Ensemble, and Symbolism | p. 364 |
Eisenstein, Symbolism, and the Fourth Dimension | p. 369 |
Eisenstein's Pangraphism and the Theory of Imitation | p. 383 |
Mimesis, Pangraphism, and the Language of Adam | p. 389 |
Eisenstein and Symbolist Colour Theory | p. 397 |
Concluding Unscientific Postscript | p. 439 |
Appendix Viking Eggeling's Diagonal-Symphonie: An Analysis | p. 445 |
Shot Description/Analysis | p. 450 |
Index | p. 465 |
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